This thesis explores the theme of evil in Senecan tragedy through the prism of his Stoic principles, as they are illustrated in his philosophic treatises, with special reference to de ira, de clementia, and naturales quaestiones. The introduction defines evil and situates this study in the historical context of Julio-Claudian rule at Rome. In addition, I sketch the relative chronology of Seneca’s works and chart Seneca’s interest in the myths on display in Greek and Roman tragedy. Chapter One, “The Beast Within,” investigates the contrast of the civilized and uncivilized behaviour of Seneca’s characters in the Phaedra, Thyestes and Hercules Furens. I argue that although Seneca’s characters represent themselves as creatures of civilization and the city in their rejection of wild nature and their embrace of the values of civilization, in their words and actions they repeatedly revert to the wild landscape and bestial appetites that lurk outside the safety of the city walls. In Chapter Two, “Anger,” I examine the emotion of anger as represented in the Medea and compare that tragic exploration with Seneca’s discussion of the emotion in the de ira, where it is called the greatest vice. I conduct an extensive comparative investigation of the language of Seneca’s treatise de ira and his tragedy Medea. Fitch contends that “the dramas do not read like ii negative exemplars designed to warn of the dangers of passion,”1 but I argue that here and elsewhere they do indeed. In Chapter Three on “Cruelty,” I discuss the theme of cruelty in the Troades with reference to the de clementia where Seneca develops the theme of cruelty as the opposite of mercy, in an effort to guide the eighteen-year-old emperor Nero to compassionate rule. However, Seneca takes up the question of cruelty not only in the treatise, but also in his moral epistles and in his tragedies, especially the Troades. There I show that Seneca employs tragedy to hold up a mirror to his audience so that they can see their own behaviour reflected in it. Chapter Four, on “Ghosts and Curses,” takes its starting point from Seneca’s well-known use of ghosts in his tragedies, a feature which had a great influence on Tudor and Jacobean drama. In Senecan tragedy, the presence of ghosts often threatens the safety of the living. I contend that there are four types of ghost in Senecan drama. In the conclusion, I show that Seneca’s tragedies can be read as a criticism of the powerful, and that his Stoic interpretation of human behaviour can be seen throughout his tragedies.

This study is an investigation of adaptations of the Greek tragic chorus since World War II, including the historical, political, and aesthetic contexts that gave rise to these adaptations. Influenced by recent work in the field of Classical Performance Reception and Linda Hutcheon’s work on adaptation, this thesis is designed not around a set of case studies, but around a variety of research questions, including: the current definition of “the chorus” and how it might include the “one-person chorus”; the techniques of mediation used by modern choruses and how they might relate to techniques of the ancient chorus; the connection between political adaptations and the encouragement of audience “complicity”; and the complexities involved in the production and reception of intercultural choruses. I begin by arguing that although August Wilhelm Schlegel’s conception of the chorus as an “ideal spectator” remains the most persistently popular model of understanding the chorus, it should be replaced with a new model based on the concentric frames of performance described by Susan Bennett. Through the use of this model, the chorus is revealed as a liminal, oscillating figure that mediates the action for the audience, and I argue that these qualities have made the chorus an attractive element of tragedy to modern adapters. In the case studies that are offered throughout, I further develop this model in order to analyze the ways in which modern choruses create relationships with audiences, as well as what political or ideological functions these relationships are intended to serve. The model that I develop encourages an engagement with both the intentions of adapters and the realities of reception, and I therefore explore not only how communication strategies of the chorus are intended to operate, but also the issues these strategies raise and the challenges adapters - and their choruses - encounter.

Thesis (doctoral)--Ecole pratique des hautes études, 1998. / Cover title. Includes bibliographical references (p. 405-410).

Thesis (Ph. D.)--Johns Hopkins University, 1896. / "Bibliography of the principal literature consulted": p. [1]-2.

Thesis (doctoral)--Ecole pratique des hautes études, 1998. / Cover title. Includes bibliographical references (p. 405-410).

Thesis (Ph. D.)--University of Pennsylvania, 1926.

Proefschrift--Amsterdam.

Thesis (Ph. D.)--Johns Hopkins University, 1896. / "Bibliography of the principal literature consulted": p. [1]-2.

Thesis (Ph. D.)--University of Chicago, 1938. / Lithoprinted. "Private edition, distributed by the University of Chicago libraries, Chicago, Illinois."

Rede--Kiel. / "Rede zur Feier des Geburtstages seiner Majestät des deutschen Kaisers und Königs von Preussen Wilhelm II gehalten an der Christian-Albrechts-Universität am 27. Januar 1894."